Chapter 17

[256]Subjektivität.

[257]Für andere, that is for other spiritual beings than the absolute Spirit as such.

[258]Die Innigkeit.

[259]Aus dem Innern exzeugten.

[260]Sich in sich hineinbildend.That is by continually supplying new modes to the subjective spiritual content—until we arrive at the almost purely spiritual mode of music.

[261]Die innere Auflösung.

[262]The phenomenal world of Nature.

[263]Die Verwickelungen.

[264]Die Abentheuerlichkeit.Hegel means that it is like the result of an adventure—unforeseen rather than "fantastic."

[265]Ein individuelles Subjekt.

[266]That which supplies its own justification.

[267]Lit., unenclosed, that is open indefinitely and so undefined, unsounded.

[268]That is, it is open to extraneous causes that cannot be predicted from the mere essential notion of them.

[269]I presume this is the meaning of the expressiondas Aussergöttlicheanddas partikulär Menschliche.

[270]Pralle—stiff, metallic in its steeply rigidity.

[271]Act I, sc. 5.

[272]Miserabilität.One of Hegel's own coinage.

[273]An unknown work to me.

[274]Ein inneres Werden.

[275]One is reminded of the Mohammedan fatalism. It is Allah.

[276]In einfacher Gedrungenheit.Hegel means that it is tightly self-sealed, that and nothing more.

[277]Hineingelegtseyn.The reference of the whole being to one object.

[278]This was the representation which took place in Berlin in 1820, with Mademoiselle Erelinger as Juliet.

[279]List, usually in depreciatory sense, here otherwise.

[280]With the exception, of course, of her presumed father Prospero.

[281]That is, a poetry based rather on the reflective faculty than the creative imagination.

[282]"He saw it plunge, drink boldly,Then sink in sea-depths lost;And what his eyes saw loosed him,No drop the king drank more."

[282]

"He saw it plunge, drink boldly,Then sink in sea-depths lost;And what his eyes saw loosed him,No drop the king drank more."

[283]Lebensläufe in aufsteigender Linie.

[284]In sich totales, unbeschränktes Gemüth.The expressions would appear to contradict one another, but the emphasis is on the unity of a whole which is itself not fully defined.

[285]It is not so much a third type as a way of looking at the previous ones.

[286]It is contingent, of course, to the individual. Hegel does not mean that it is without causality.

[287]The sphere of objective fact.

[288]From Nature, that is.

[289]Ihres inneren Verlaufs.I suppose Hegel means action under the aspect in which it forms a part of the individual development—regarded in its relation to will and consciousness.

[290]That is, the Christian community.

[291]Den Menschen als Menschheit, that is in his generally secular aspect.

[292]I presume this is the sense ofgebrochenhere. But lower down it would mean apparentlydiscordant.

[293]By "fantastic" Hegel seems to me to mean that which is based on a fancy or imagination that is wholly personal to the artist, and so adventitious in its results.

[294]Sicheres Gemüth—"consistent" both in its literal and metaphorical senses—one that holds together and is thus self-assured.

[295]Das Romanhafte.I cannot think of an English expression which exactly corresponds.

[296]Sich schrauben, like the winding smoke from a bottle—the corkscrew—-ironical of course.

[297]One of the finest illustrations of such a universality of interest may be found in Ruskin's description of Tintoret's "Adoration of the Magi."

[298]Genialitätandgenialmean a good deal more than our English words geniality and genial—they refer directly to genius.

[299]Das in sich Nothwendige.The reference is mainly to the stricter principles of classical art.

[300]Nach ihrer ganzen Inneren.

[301]Lit., "Which possesses for its substantial content (Substanz) the integrity (Rechtschaffenheit), world-wisdom [here I think no more is meant than "good sense"] and the morale of daily life (des Tages)."

[302]Lit., "That the material, so far as art appropriates it, be immanent and at home in that reality."Immanentmust I think refer back todie vorliegende Werklichkeit.

[303]Vol. I, pp. 229, 230.

[304]That is it has no interestquâa natural object.

[305]Scheinenmust mean here natural rather than artistic appearance. Natural appearance is notnecessarilybeautiful.

[306]Des sick in sich vertiefenden Scheinens.It is self-deepening in proportion to thefeiner Sinnbelow mentioned.

[307]I think this is the meaning of the expressiondas Physikalische der Farbe—not so much the material constituents of colour as the effect of colour on physical substances. But either interpretation makes sense.

[308]An artist unknown to me.

[309]Gemüth. I think Hegel uses the word here in the narrower sense rather than "soul" generally.

[310]Der subjektive Humor.

[311]Lit., "And arranges them side by side in an alien order." That is, under a principle of co-ordination which does not lie in the subject-matter.

[312]Unscheinbares Fortschlendern.

[313]Die Subjektivität des Kunstlers.The expression as used here and below implies, of course, not so much the formal personality or character as the individual spirit and its resources.

[314]I presume this is the meaning ofvon einem affirmativen Momente.

[315]Lit., "Was at first posited as naught."

[316]That is, as an artist for whom it iswahrhafter Ernst.

[317]Das Absolutehere is, I think, referable to the subject-matter of art rather than to be taken as "the Absolute" simply.

[318]Die Seele.Perhaps "vital principle" would be better.

[319]That is, Spirit or mind.

[320]There is an uncorrected misprint here,dershould bedenandtragenwould be an improvement onträgt.

[321]I am not certain whether the subject is here the artist himself, or his mode of working. The context would suggest the latter, the better sense the former.

[322]Reflection has destroyed thenecessityof any particular form.

[323]That is the life of Spirit.Das Heilige und Ewige.

[324]Bewusstlosen.His spiritual nature in its unexplored universality is, I presume, the sense.

[325]Als ihnen gemäss.As adequate to their completely explicit nature.

[326]Aber als leibliche unerinnerte Gegenwart.I am not sure that I know precisely the sense here, unless it amounts to this that the Greek gods were without an historical memory. Their immortality swallowed up in its repose the sense of beings in time, and assumed to be in human bodily shape.

[327]Zu ihrem neuen Heiligen den Humanus macht, an uncommon phrase.

[328]Innerhalt seines subjektiven Reflexes.That is, the synthetic activity of humour's reflection.

[329]Verinnigung, a stronger word thanVereinigung.

[330]"Petrarch sang songs of his Laura. To him who wonders at beautiful songs they are beautiful, to the lover they are not so."

[331]"Wiederfinden."

[332]I am not quite sure thatdie Heiterkeit des Gestaltensdoes not mean "the buoyancy of the created form."

INDEXAccompaniment, Music as, iii, 377-379,413-418; of human voice, iii, 383.Aeschylus, reference to the "Agamemnon," i, 285;to the "Eumenides," i, 302, 303, 372;ii,213-215,223; iv, 306, 324;to the "Coephorae," and the "Seven before Thebes,"iv, 318; change of scene in his dramas, iv, 257;universal powers in dramas, i, 377; char acterof Clytemnaestra, ii,345.Aesop, Fables of, ii,115.Anacreon, odes of, iv, 203, 233.Aphrodite, description of, iii, 185.Architecture, types of classical, iii, 80-90;Roman, iii, 87-88; Gothic, iii, 91-104;Byzantine, iii, 105.Aristophanes, subject-matter of his comedies,iv, 277, 283, 304, 329; himself an actor,iv, 286; his "Ecclesiazusae," iv, 303.Aristotle, reference to the "Poetics," i, 19;on tragedy, i, 283; on use of simile, ii,143;proper subject of tragedy, iv, 131;on unities of time and place, iv, 256.Artist, as executant, iii, 426-430.Athene, nature of as goddess of Athens, iv, 325.Bach, J. S., supreme master of ecclesiasticalmusic, iii, 419.Beethoven, L. van, soul-release in art's freedom,iii, 349; symphonies of, iii, 355 n.Bosanquet, B., references to translation ofHegel's Introduction by in present translator'snotes, i, 28, 29, 31, 32, 37, 40, 45, 52,65, 66, 68, 69, 71, 73, 76, 88,93, 96, 100, 108, 109, 116, 181.Bradley, A. C., reference to Lectures on Poetry, i, 265 n.Bradley, F. H., i, 73, 96 n.Brahman, supreme godhead in Hindu theosophy, ii,50-61,91.Calderon, quotation from, ii,142; comparisons of, ii,149.Camoens, the "Lysiad" of, iv, 190.Cervantes, type of comedy in "Don Quixote," i, 262; ii,374;dissolution of chivalry as depicted by Cervantes andAriosto, ii,373.Chivalry, general description of, iv, 185-187.Chorus, Greek, nature of, iv, 315-317.Cid, the Spanish poem of the,description of, iv, 182;heroic personality of the, ii,348; iv, 138-140;nature of collision in, i, 321.Columns, Greek, iii, 69-76; orders of, iii, 82-85;on the Greek temple generally, iii, 79.Creutzer, his work on symbolism, iii, 17, 18;affinity of Egyptian and Hellenic art on coins, iii, 203.See also ii,138; iii, 39, 41.Cuvier, analytical power of, i, 176.Dante, conciseness of, i, 350; allegory in, ii,19;on the love of Beatrice, iii, 340;description of the damned, iii, 319;the "Divine Comedy" contrasted with "Æneid" and"Odyssey" as epical narrative, iv, 163;general description of "Divine Comedy," iv, 184.Denner, realistic portraits of, iii, 270.Destiny, supreme significance of in Epos, iv, 144;fate in tragedy, iv, 312, 322; as necessity, iv, 254.See also particularly as to Greek art, ii,261-264.Drapery. See under Sculpture.Dutch School, description of, i, 228-230; ii,382-386;iii, 334-337; landscape in art of, i, 397;colouring of, iii, 276.Einbildungskraft, meaning of as distinct from Phantasieand Vorstellung, i, 55 n., 62 n., 381 n.Euripides, the "Alcestis" of, i, 275;treatment of love in the Phedra, iii, 340;transition of drama of to sentimental pathos, iv, 321.Eyck, H. van, supreme concep tion of God the Father, iii, 252;his picture of the Madonna, iii, 255;his "Adoration," iii, 262;description of brothers Hubert and John, iii, 330.Ferdusi, "Shahrameh" of, i, 251, 277.Fichte, his position in history of Aesthetic Philosophy, i, 89-91.Flesh-colour, nature of, in painting, iii, 285.Giotto, reforms of, in painting, iii, 322.Goethe, definition of the beautiful by, i, 21, 36-38, 91;reference to his "Iphigeneia," i, 262, 304-306, 373; iv, 307;to "Faust," iv, 333; to his Tasso, iv, 307;to "Hermann and Dorothea," i, 256, 353;to "Werther," i, 271, 321;to the "Bride of Corinth," ii,270;to the "Westöstlicher Divan," i, 372; ii,96,400; iv, 233;to "Dichtung und Wahrheit," iii, 289;to the "King of Thule," ii,363; his "Mignon," iii, 298;his theory of colour, i, 117 n.;on the innate reason of nature, i, 179;Goethe on Hamlet, i, 307; ii,364;his pathos contrasted with that of Schiller, i, 313;rivalry of with Shakespeare, iv, 338;quotation from Goetz von Berlichengen, i, 366;the ripeness of his maturity, i, 384;on Gothic architecture, iii, 76;Xenien of, ii,145; on harmonious colouring, iii, 283;supreme quality of folk-songs of, 386;songs of comradeship, iv, 205;prose in his dramas, iv, 71;imitation of Icelandic, iv, 208;as a Lyric poet generally, iv, 217.Greek art, origin of in freedom, ii,183;content of, ii,184-186;Gods of, ii,224-228; iii, 183-186, 188;absence of the sublime in, ii,237;incapable of repetition, iii, 396;Greek epigrams, ii,398;character of dramatis personae in Greek art, iv, 317-320.Greek chorus. See under Chorus.Greek mysteries. See under Mysteries.Greek oracles. See under Oracles,Hafis, Lyrics of, iv, 237; quotation from, ii,94,95,147.Helmholtz, researches of in music, iii, 390 n.Herder, his conception of Folkslied, i, 364.Herodotus, statement of as to Homer and Hesiod, ii,190,231;his account of temple of Belus, iii, 37;date of his history's commencement, iv, 39;on battle of Thermopylae, iv, 23;as general authority for Egyptian history and art,see vol. iii, ch. i.Hesiod, mythology of, ii,63,64,167,216;reference to his "Works and Days," iv, 108.Hindoos, architecture of, iii, 48-51; religion of, ii,47-64.Hippel, humour of his "Life's Careers," ii,365.Hirt, connoisseur, his emphasis on the characteristic, i, 22-24;on origins of architecture, iii, 27;on Memnons, iii, 41;on the original materials of building, iii, 66.Homer, vividness of his characterization, i, 225, 235;the heroes of, i, 250;starting-point of Iliad in wrath of Achilles, i, 290;iv, 30, 156, 167; hero as focus of many traits, i, 316;landscape in, i, 341; iv, 123, 154;type of society in Iliad, i, 352, 377;whether personal experience of poet, i, 357; iv, 122;his use of simile, ii,154;quotations from the Iliad, ii,154,155;sacrifices in the Iliad, ii,192;unity of Homeric god-world, ii,219;human motives defined through god's action, ii,234,235;freedom of Greek gods in, ii,239;individuality of gods in, ii,242-258;poet later than the Trojan war, iv, 124.Horace, Ars Poetica of, i, 19, 69;artificial character of his Odes, iv, 229.Iffland, reference to, iv, 290, 344;superficial quality of, ii,381.Immortality, contrast of conception in Paganand Christian thought, ii,287-290.Irony, the views of Schlegel,Solger and Tieck on, i, 90-94; iv, 271.Jacobi, the "Woldemar" of, i, 322.Kant, Immanuel, relation of hisphilosophy to Philosophy ofAesthetik, i, 78-84, 149, 154 n.;on the sublime, iii, 86, 87.Klopstock, his rank as an Epic poet, iv, 150-152;his personality, iv, 216, 244, 245;partly artificial enthusiasm, iv, 229.Kotzebue, popular effects of, i, 362;superficial rapidity of, ii,381;bad composition of, iv, 290;ethical baseness of, iv, 304.Landscape gardening, i, 332-333Laocoon, statue group, iii, 191.Lessing, his introduction of prose into drama, iv, 71;didactic drama of, iv, 277.Libretto, nature of good, iii, 355-357.Light, the nature of as an element, ii,225-226.Longinus, his Essay on the Sublime, i, 19.Lötze, See i, 82 n.Luther. See ii,13.Memnons, iii, 41-43.Meredith, George, i, 36 n., 216 n.; ii,339n.; iv, 347 n.Michelangelo, his power to depict devils, iii, 307.See also, i, 224 n.; iii, 27 n.Molière, character of comedies of, iv, 345-347.Mozart, example of precocity, i, 37 n.;symphonies of, iii, 385;Libretto of his "Magic Flute," iii, 415;just mean of splendour in opera, iv, 291.Mysteries, Greek, ii,221.Natural, the natural in art as distinct fromthe barbarous or childish, iii, 6-8;natural diction in Lessing,Goethe and Schiller, iv, 265-267.Oracles, Greek, ii,205-208.Originality, nature of in art, i, 394-405.Ossian, character of his heroes, i, 343;similes of, ii,151,153;authorship of, iv, 146, 180. See also iv, 114, 127.Ovid, Metamorphoses of, ii,126;similes of, ii,152,198.Pathos, nature of, i, 308-325;pathos of drama, iv, 265;that of Goethe and Schiller compared, i, 313.Pheidias, school of, i, 235;materials used by, iii, 199;the plastic ideal of, iii, 133;Elgin marbles, iii, 138;the "Zeus" of, iii, 117, 184.Pindar, Odes of as occasional, i, 271;his odes compared with elegiesof Callinus and Tyrtaeus, iv, 201;Pythian priestess on his merit, iv, 216;enthusiasm of, iv, 229;his creative gift, iv, 241.Plastic, personality, of Greeks, as Pericles,Pheidias and Sophocles, iii, 133.Plato, relation of his philosophyto the universal concept or notion, i, 27, 28, 197;his relation to art generally, i, 141;citation from, i, 210; his use of simile, ii.143.Portraiture, in painting, iii, 307-311.Praxiteles, iii, 190.Prometheus, ii,209-215.Psalms, Hebrew, general character of, i, 378;illustrate the sublime, ii,102-104;iv, 226-228.Pyramids, the, iii, 55.Racine, the "Esther" of, i, 361; his Phèdre, i, 321.Ramajana, the, episodes from, ii,51-53,61.See also iv, 110, 112, 165, 175.Raphael, general references to, i, 37, 212, 380, 385;possesses "great" manner with Homer and Shakespeare, i, 405;his Madonna pictures, iii, 227; cartoons of, iii, 242;mythological subjects, iii, 245;his "Sistine Madonna," iii, 255, 262, 304;his "School of Athens," iii, 254;vitality of drawings of, iii, 275;perfection of technique, iii, 328;translator's criticism on extreme praiseof Raphael and Correggio, iii, 329 n.Reni, Guido, sentimental mannerisms of, iii, 264.Richter, J. P., Kaleidoscopic effects of, i, 402;sentimentalism of, ii,365;humour of compared with Sterne's, ii,387.Rösel, Author of "Diversions of Insect life," i, 59.Rumohr, von, Author on Aesthetic Philosophy, i, 148, 232;on style, i, 399; on Italian painters and in particular,Duccio, Cimabue, Giotto, Masaccio, Fra Angelico,Perugino, Raphael and Correggio, iii, 316-330.Ruskin, J., i, 62 n., 72 n., 230 n.Sachs, Hans, religious familiarity of, i, 359.Satire, in Plautus and Terence, ii,277; iv, 305;in Sallust and Tacitus, ii,278;not successful in modern times, ii,279;belongs to third type after tragicand comic drama, iv, 305.Schelling, Art Philosophy of, iii, 23 n.Schiller, rawness of early work, iii, 38;his "Letters on Aesthetic," i, 84-86;quotation from, i, 214;reference to "Braut von Messina," i, 258;to "Kabale und Liebe," i, 261; iv, 333;to Wallenstein," iv, 288;to the "Maid of Orleans," i, 261; iv, 291, 339;extreme scenic effect of the latter drama, iv, 291;narrative too epical in same drama, iv, 161;reference to "Wilhelm Tell," i, 379;pathos of Schiller, i, 394;his use of metaphor, ii,144;attitude to Christianity, ii,268;profundity of, iii, 414;character of his songs, iv, 207, 239;his criticism of Goethe's Iphigeneia, iv, 275;leaves much to actor, iv, 288.Schlegel, F. von, Aesthetic theory of, i, 87-89;art as allegory, ii,134; statement of,that architecture is frozen music, iii, 65.Sculpture, drapery of, iii, 165-171;materials of, iii, 195-201; Egyptian, iii, 203-210;Etruscan, iii, 211; Christian, iii, 213;the Laocoon group, iii, 178-191; soul-suffering of, iii, 256.Shakespeare, William, materials of his dramas, i, 255, 324;reference to drama "Macbeth," i, 277; to Lady Macbeth, i, 324;to witches of "Macbeth," i, 307; ii,366;to "Macbeth," iv, 337, 341; to "Hamlet," ii,378; iv, 334, 342;to "Othello," iv, 337; to "Falstaff," ii,375;to tragedy of "Othello," i, 283; to "King Lear," i, 296;to "Romeo and Juliet," i, 319; iv, 342; to "Richard III," iv, 341;the clowns of, i, 320; the fool in "King Lear," ii,375;quotations from "Richard II," ii,141,159;from "Romeo and Juliet," ii,153; from "Henry IV," ii,158;from "Henry VIII," ii,159,160; from "Julius Caesar," ii,260;from "Macbeth," ii,160; from "Anthony and Cleopatra," ii,161;mythical material of dramas, i, 351 n.;his historical dramas, i, 374;his use of metaphor, ii,144,156;the fidelity of Kent in "King Lear," ii,346;self-consistency of characters, ii,356-358; iv, 340;intelligence of vulgar characters, ii,366,375;subsidiary interest of part of material in dramas, iv, 260;vitality of characterization, iv, 274,and in particular, iv, 337; superiorityin modern comedy, iv, 348.Sophocles, reference to the "Philoctetes," i, 275, 301; iv, 306;to "Œdipus Rex," i, 276; iv, 319;to the "Antigone," i, 293; ii,215; iv, 318;to "Œdipus Coloneus," ii,222; iv, 319;to the "Electra," iv, 318; the choruses of, i, 371;no unity of place in the "Ajax," iv, 257;quotation from "Œdipus Coloneus," ii,222;treatment of love in the "Antigone," ii,339;praise of the "Antigone" as work of art, iv, 324;the "Œdipus Coloneus" as a drama of reconciliation, iv, 325.Style, significant of vitality, iii, 9;the beautiful style, iii, 10;the great style, ii,400;educated style of Roman poetry, iii, 11.Tasso, his "Jerusalem Liberated," iv, 141.See also iv, 132, 149, 159, 189,and for Goethe's play under head of Goethe.Thorwaldsen, the "Mercury" of, i, 270.Tieck, novels of, ii,167; and for both Tieckand Solger under "Irony."Van-Dyck, the portraiture of described, iii, 292.Velasquez, reference to Turner and Velasquez, i, 336 n.See also iii, 337 n.Vergil, artifice of V. and Horace, iv, 69;eclogues of compared with idylls of Theocritus, iv, 170.The "Æneid" as a national Epos, iv, 179.Versification, rhythmical of ancients discussed, iv, 81-84.That of rhyme compared, iv, 84-98.Vishnu, the Conserver of Life in Hindoo theosophy, iii, 52;second Deity in triune Trimûrtis with Brahman and Sivas, ii,59.Voltaire, contrasted with Shakespeare, i, 313;his "Henriad," iv, 132; his "Tancred" and "Mahomet," iv, 290.Watts, George, R.A., flesh colour of, i, 337 n.;relation to symbolism, ii,27n.Weber, his "Oberon" and "Freischütz," i, 216.Winckelmann, on Greek sculpture,iii, 138, 150-155, 172-176, 182, 184;on Greek coins, iii, 181.Zend-Avesta, light-doctrine of, ii,37-44; cultus of, ii,44.

Back to Index Next